Toole's
Theatre was situated on King William Street, Strand,
and named after its then owner J. L. Toole in
1882 although Toole had been
running it since 1879. The
Theatre was actually just the latest of a string of reconstructions
of a building which had originally been a Chapel for the Oratorians
and was then later renamed the Polygraphic Hall whilst under the ownership
of a Mr. S. Woodin.

Right - A programme for the farcical comedy 'The Bungalow' produced
at Toole's Theatre on October 7th 1889.
More of this programme is shown below.

In 1869 the Polygraphic Hall
was reconstructed as a Theatre and renamed the Charing Cross Theatre.
The ERA reported on the soon to be opened building
in their 6th of June edition saying: 'This Theatre, which will shortly
open, has been altered from what used to be the Polygraphic Hall of
Mr. W. S. Woodin, in King William-street, Strand. The audience portion
consists of stalls, pit, dress circle, upper boxes, and eight private
boxes; no gallery. The seats will be roomy and most comfortable, no
expense having been spared. There are two distinct fireproof entrances,
one for the stalls and dress circle, the other for upper boxes and pit,
and every requisite in the way of cloak-rooms, ladies'-rooms, &c.
All approaches and staircases are of stone; extra doors and stairs are
provided in case of necessity. The entrances will be, as before, in
King William-street. The Theatre in extent will be about the size of
the Prince of Wales's, but the general appearance
will be somewhat different from most Theatres, the upper boxes not extending
round the entire building, the space over private boxes being decorated
with paintings in lunette panels by T. Ballard. The proscenium also
contains paintings by the same artist in the two spandrills, illustrating
the serious and the comic Muses. In the centre of the ceiling is an
ornamental dome, from the centre of which hangs the sunlight, four panels
of figure subjects completing the ceiling. The decorations generally
consist of white and gold, with light tints introduced, the colour of
draperies &c., being light blue. The proscenium is hung with real
drapery instead of the usual painted one. The: new act-drop, representing
"The Mall in St. James's-park - time, Charles the Second,"
has been painted by Mr. J. H. Meadows, the eminent artist; the decorations
and general fittings are by Mr. E. W. Bradwell; and the whole has been
carried out under the supervision of Arthur Evers, Esq., architect.'
- The ERA, 6th June, 1869.

The Charing Cross Theatre opened on Saturday the 20th of June 1869
with a performance of the operetta 'Coming of Age' and a three act play
called 'Edendale,' which was a play about the American Civil War. The
Pall Mall Gaazette reported on the opening of the new Theatre in their
21st of June edition saying: 'The premises in King William-street, Strand,
at one time occupied by the Oratorians and used as a chapel, and lately
known as Mr. Woodin's Polygraphic Hall, having undergone reconstruction,
were opened on Saturday night as the Charing Cross Theatre. The house
is very small, and what is called the "auditorium" has the
look of being rather a tight fit for the audience. Much has been done,
however, to recreate the eyes of the spectator if it has been found
less practicable to regard his physical comfort in other respects. The
interior of the building is as bright and smart as gilding, colour,
gas, carton-pierre decorations, and new upholstery can make it.' The
Pall Mall Gazette, 21st June 1869.

The Pall Mall Gazette wasn't really very enthusiastic about the new
Theatre or the operetta but was a bit more polite about 'Edendale'.
They went on to say that the evening concluded at a 'very late hour'
with a performance of a burlesque called 'Norma' by Mr. Gilbert which
was apparently 'well received'.

In 1876
the Theatre was the subject of major reconstruction and redecoration
to the designs of the well known Theatre Architect Thomas
Verity for the then proprietor and Manager Alexander Henderson.
The Theatre reopened on Monday October the 16th 1876
as the Folly Theatre with Lydia Thompson and Company in Farnie's burlesque
'Blue Beard,' preceded by the comic drama 'Man is not Perfect.' The
Theatre also had a new ceiling by Signor Emilio Marolda and a new Act
Drop and Scenery by Messrs.
Grieve and Son.

In
1879J. L.
Toole took over the management of the Theatre and in 1882
he had it reconstructed by Messrs Laing and Son and renamed Toole's
Theatre, which opened in February the same year. The ERA
reported on the new Theatre in their 4th of February edition saying:
'The old Polygraphic Hall has had many transformations, but none so
thorough and complete as those now carried out by Mr
Toole.

Right - A Benefit programme for the newly constructed Toole's Theatre
on July the 1st 1882.

Those who knew it when the famous Woodin was wont to open his "
Carpet Bag " for the amusement of young and old, and those who
have followed its varying fortunes through its career as the "
Charing-cross " and the " Folly " Theatres, will, we
are sure, open very wide their eyes with astonishment and admiration
when they see the metamorphosis that has been effected, at a liberal
outlay, by the popular, esteemed, and enterprising comedian, and through
the judgment and taste of the architect intrusted with the task, Mr
John I. Thomson, of Charing-cross.

The chief motif of the alterations has been to improve and enlarge
the entrances and exits. This he has been able to do in a most satisfactory
manner by the acquisition of adjoining premises in King William-street,
and, at the same time, to materially improve the theatre itself.

To give a concise idea of what has been effected, we may explain that
the pit level is but little below that of the street. Under the old
regime visitors to pit and gallery had to burrow underground, and then
ascend narrow flights of steps to reach their respective levels. All
this is changed. Pit and gallery have each a separate entrance twice
the width of the old, and there are no unnecessary stops or subterranean
passages.

Above - The inside of a Benefit programme for the
newly constructed Toole's Theatre on July the 1st 1882.

Ascending higher, the badly used upper circle patrons
have now a broad staircase of their own, and no longer have to be coaxed
out of the dress circle, through which they had to pass. The greatest
improvement is, however, manifest in the entrance to the dress circle
and stalls. Broad flights of stairs 6ft. wide give access to these parts
of the house, and, the entrance from the street being absolutely wider
than the collective width of the corridors leading thereto, crushing
is simply an impossibility.

Ascending the staircase a handsome and spacious foyer and refreshment
room is provided on the first floor. This, with the staircase itself,
will have to be seen to be appreciated by those who remember the entrance
of old, with the lobby in which the picture of the Chinese lady was
exhibited.

The
auditorium next claims our attention, and exhibits an equally startling
metamorphosis. The consciousness that we were in an adapted lecture-room
or Roman Catholic chapel (for this property has had many experiences)
has departed for ever, and we now behold a most commodious little theatre.
Mr Toole evidently believes in the pit, and the
whole of the enlargement on this floor has been given to his critical
friends who patronise him there.

Left - The back of a Benefit programme for the newly constructed
Toole's Theatre on July the 1st 1882.

On the first tier the dress circle gains about fifty new seats, and
on the next tier the upper circle and gallery share the increased space.
Greater headroom, and consequently better ventilation, are, thereby
assured. The private boxes have not been forgotten, and are made to
project by a graceful curve so as to afford, not only more room, but
a better view of the stage.

The decorations, though claiming early attention by reason of their
pleasing character, are naturally the last to be described. We may say
at once they are the most architectural of anything we have seen for
a long time. They are not, however, of the modern aisthetic school,
for there is not a poppy or a lily, or " dirty green" in the
whole of them. The design of the central ceiling gives a key to the
rest, which may be described as of a Raphaelesque character. Very delicate
colouring of " primary" colours, with not too much gilding,
gives a refined effect. The prevailing colours of the upholstery are
light blue in satin and crimson plush. The private boxes and proscenium
also show special architectural treatment, the return face of the latter
being entirely novel in character.

Passing to the stage an important alteration, or addition, is the provision
of a stage entrance in Chandos-street, which, with a good staircase
on this side of the house, is available as a means of exit in case of
panic. This, however, though always open, could hardly ever be required,
as the other exits are so ample, affording sufficient means of egress
to enable the whole of the auditory to quietly leave in less than one
minute. Further, the stage is improved, and the dressing-rooms increased
in size and number, with good service stairs.

Above - A programme for the farcical comedy 'The
Bungalow' produced at Toole's Theatre on October 7th 1889.

All the sanitary arrangements have been overhauled. The gas services
have been entirely renewed, the pilot and flash system being introduced,
the floats being lighted in this manner for the first time in any theatre.
There are, of course, two separate gas services for the front and stage,
and oil lamps are to be suspended in various parts to provide for all
contingencies. A fire main on the high-pressure constant supply has
been led from the Strand, and fitted
with numerous hydrants.

Above - A programme for the farcical comedy 'The
Bungalow' produced at Toole's Theatre on October 7th 1889.

In leaving we must not forget to notice the covered way, which, though
a new departure, is so sadly needed to most of our public buildings.
This is carried out in a most artistic and substantial manner. There
are no posts to obstruct, and five or six carriages can set down and
take up at once, no slight assistance in rapidly clearing a theatre
at night. Messrs Laing and Son are the builders. Messrs Battiscombe
and Harris supplied the enrichments from the architect's designs. Messrs
Atkinson have undertaken the upholstery. The gas is by Messrs Strode;
the fire appliances by Messrs Merryweatlaer. The new act-drop is by
Mr William Glover, the celebrated artist, and late lessee and manager
of the Theatre Royal, Glasgow. The
subject is Loch Katrine, with view of the Silver Strand and Ben Nevis.

Altogether, Mr Toole has spared no expense to
secure the safety, comfort, and welfare of his patrons, to say nothing
of pleasing their tastes; and we trust he may soon recoup himself the
heavy outlay he has so bravely incurred.' The ERA,
4th February 1882.

Toole's Theatre was to have a fairly short life
however and was not always successful although the Daly's
Theatre company would make their first London appearance at the
Theatre in 1884, and in 1892
Barrie's first play, 'Walker, London', did have a successful run. Toole's
Theatre closed in 1896 due
to the noise of the Theatre causing a nuisance to the occupants of the
nearby Charing Cross Hospital, whose management then had the Theatre
demolished so as to use the site for the hospital's enlargement.' The
position of the Theatre was right in the middle of the enormous police
station that now occupies the site.

About J. L. Toole

TOOLE, JOHN LAURENCE (1830-1906),
English actor and theatre manager. Born in London, where his father
was Toastmaster to the East India Company, he was for a short time,
like Garrick, clerk to a wine-merchant, but success in amateur theatricals,
notably as Jacob Earwig in Boots at the Swan, turned his thoughts
to the stage. Encouraged by Dickens, he joined Dillon's company in
Dublin in 1852
as a low comedian, [1] and two years later made a
fleeting appearance in London, returning to establish himself, after
further experience in the provinces, in 1856.
He was seen at the Lyceum as Fanfaronade
in Belphegor, in which Marie Wilton, later Lady Bancroft, also made
her first appearance in London. On the recommendation of Dickens,
Toole was engaged by Ben Webster for the New Adelphi
in 1858, and remained there
nine years. Among his successful parts were Bob Cratchit in A Christmas
Carol (1859) and Caleb Plummer
in Dot (1862), Boucicault's
dramatization of The Cricket on the Hearth. In this he combined humour
with a pathos which showed how well he might have played serious character
parts; but the public preferred him in farce. He was for many years
a close friend of Irving, with whom he first
played at the Queen's, Long Acre,
in 1857, and subsequently
on tour. In 1869
he began along association with Hollingshead at the Gaiety,
being excellent in burlesque and opera bouffe, and in 1879
he went into management at the Charing Cross Theatre,
with a good resident stock company, giving it his own name in 1882.
The most important production of his last years was Barrie's first
play, a farce entitled Walker, London (1892).
He habitually toured the provinces in summer, with a good company,
gaining thereby much profit and reputation. Crippled by gout, he left
the stage in 1895, when his
theatre was pulled down, and retired to Brighton,
where he died. He made one appearance in New York, in 1874,
at Wallack's, but was not very successful, his humour being too cockneyfied
for the Americans. Clement Scott called him 'one of the kindest and
most genial men who ever drew breath.... No one acted with more spirit
or enjoyed so thoroughly the mere pleasure of acting.' He was much
respected in his profession, and always on good terms with his audience,
being particularly good at end-of-performance speeches.

The above text on J. L. Toole is from The Oxford
Companion to the Theatre (First edition - 1951) - Later annotations
are by Matthew Lloyd.

Please
note that J. L. Tool's first appearance on any stage appears to have
been for one night only at the Theatre
Royal, Haymarket on the 22nd of July 1852
when he performed there in 'The Sptalfield's Weaver'. T.
C. King also performed there the same evening, in his first London
Performance, when he played Shylock in 'The Merchant of Venice'.

Right - A Notice from the ERA
of the 18th of July 1852 which
is advertising 'One Night more - Brilliant array of Talent for this
Night only' at the Theatre Royal,
Haymarket on the 22nd of July 1852.
In the cast for these productions were T.
C. King in his first London Appearance, and J. L. Toole in his first
performance on any stage.

Archive newspaper reports on this page were kindly
collated and sent in for inclusion by B.F.